BREAKING NEWS:
We had Tuesday's Comments Page all ready to post this weekend (always trying to get ahead of the game!) ... but then received the sad news late on Monday that Drummer Extraordinaire Hal Blaine has passed away.
This guy played drums on literally THOUSANDS of recordings over the years ... including many of the hits we all grew up with.
As part of The Wrecking Crew (a moniker some say HE coined), Blaine was the #1 go-to musician when it came to laying down the beat. In the course of a single week he could take part in recording sessions with the likes of Phil Spector, The Beach Boys, Herb Alpert, The Association, The Fifth Dimension, The Monkees and Frank Sinatra ... and then squeeze in an Elvis session that evening if The King needed him to come by!
The guy was amazing ... and I am SO proud of the fact that he participated with Forgotten Hits from time to time.
He's a true legend ... and his legacy will live on long after all of us have strummed our last chord.
It would be virtually impossible to document all of the sessions he was involved with ... the list goes on forever ... but the total is likely more than any other session musician ever.
He recently wrote to me and said that he wasn't able to keep up with our newsletters anymore ... he didn't cite any particular health issues but I know now that this was the reason. And yet despite it all if something happened to catch he eye, he would STILL write in and make a comment. (I was beyond flattered that he continued to read Forgotten Hits "on the sly"!!! lol)
Watch The Wrecking Crew Documentary ... read the books ... talk to anybody who was anybody in the '60's and they'll be able to tell you a Hal Blaine story.
The accolades that are sure to come in as this news circulates will easily fill another entire column.
Suffice to say that right now I am deeply saddened by this news ... as are music fans around the world.
We love ya, Hal! (kk)
I knew Hal Blaine for 50 years. I did a term paper on him during high school. He invited me to a 5th Dimension session, too.
Man ...
Jimbo
I always liked this song, which (to the best of my memory) never got played here in Chicago (unless you heard it on Casey Kasem’s American Top 40 Countdown … where it peaked at #29 in 1981.) That’s where I first heard it … and ordered a copy immediately! (kk)
We had Tuesday's Comments Page all ready to post this weekend (always trying to get ahead of the game!) ... but then received the sad news late on Monday that Drummer Extraordinaire Hal Blaine has passed away.
This guy played drums on literally THOUSANDS of recordings over the years ... including many of the hits we all grew up with.
As part of The Wrecking Crew (a moniker some say HE coined), Blaine was the #1 go-to musician when it came to laying down the beat. In the course of a single week he could take part in recording sessions with the likes of Phil Spector, The Beach Boys, Herb Alpert, The Association, The Fifth Dimension, The Monkees and Frank Sinatra ... and then squeeze in an Elvis session that evening if The King needed him to come by!
The guy was amazing ... and I am SO proud of the fact that he participated with Forgotten Hits from time to time.
He's a true legend ... and his legacy will live on long after all of us have strummed our last chord.
It would be virtually impossible to document all of the sessions he was involved with ... the list goes on forever ... but the total is likely more than any other session musician ever.
He recently wrote to me and said that he wasn't able to keep up with our newsletters anymore ... he didn't cite any particular health issues but I know now that this was the reason. And yet despite it all if something happened to catch he eye, he would STILL write in and make a comment. (I was beyond flattered that he continued to read Forgotten Hits "on the sly"!!! lol)
Watch The Wrecking Crew Documentary ... read the books ... talk to anybody who was anybody in the '60's and they'll be able to tell you a Hal Blaine story.
The accolades that are sure to come in as this news circulates will easily fill another entire column.
Suffice to say that right now I am deeply saddened by this news ... as are music fans around the world.
We love ya, Hal! (kk)
I knew Hal Blaine for 50 years. I did a term paper on him during high school. He invited me to a 5th Dimension session, too.
Hal steered me to Pro Drum Shop on Vine Street. My life changed seeing the sparkle sets and equipment on the wall. I never knew there was a place for drummers and percussionists besides Wallichs Music City and Drum City.
For decades I called him Belsky, his real last name, and he would call me Harvala.
In the seventies I interviewed him numerous times for domestic and international publications. He once gave me a lift on his motorcycle between a three session day and also picked me up hitch-hiking again on Sunset Blvd. when he saw me at a bus stop on Fairfax Avenue when my car was in the shop. “Take me to Gold Star! I need to see this session.”
After it wrapped, Hal’s parting comical advice was: “Harvala ... Please don’t get married in California!”
Then every Wrecking Crew session veteran started laughing their heads off. I didn’t quite comprehend the reality on display. Just about every cat started running down words I never heard like alimony and visitation … [I think Hal was married five times].
During 1975 - 1980, I was on a handful of Phil Spector produced recording sessions at Gold Star studio hand-clapping and supplying tambourine and percussion instruments on The Ramones’ End of the Century album, as well as dates on Leonard Cohen’s Death of a Ladies’ Man and The Paley Brothers’ “Baby, Let’s Stick Together.” I think Hal was on the Dion LP Phil produced. I'm just riffing.
To be on the floor in a recording studio on Santa Monica Blvd. with Hal, Don Randi, Don Peake, Ray Pohlman, Terry Gibbs, Dan and David Kessel, Jim Keltner, Barry Goldberg, and the giants, produced by Phil Spector with engineers Stan Ross, Dave Gold or Larry Levine at the console.
I also hung out with Hal around a couple of dozen dates when I was an occasional food-runner. We always liked regular mustard on corn beef at the local delicatessens. No Dijon.
In February, 2019, I was just at his 90th birthday party at Don Randi’s Baked Potato in North Hollywood. Charlie Watts, Jim Keltner, Russ Titelman, The Honeys, Dean Torrence, Denny Tedesco, Slim Jim of the Stray Cats, David Leaf, and Rodney Bingenheimer were in attendance. All came by to pay their respects and help out a charity auction. Hal joined Don Randi on the bandstand for a version of “By My Baby.”
In my last 2008 interview with Hal, for the liner notes I penned for the Elvis Presley ’68 Comeback Special 40th anniversary booklet, we focused on Elvis.
Hal Blaine had already enjoyed ‘Hit Parade’ success with Presley in Southern California recording with him on “Can’t Help Falling In Love With You,” “Return To Sender,” and “You’re The Devil in Disguise.”
Hal Blaine: “I loved it. It was one of those great times. It was at NBC, and we were all familiar with NBC working off and on again on different projects. And it was a great time.
“Elvis was terrific and loved us all because a lot of us had worked with him before. I was on the soundtrack of Blue Hawaii. Girls, Girls, Girls was really a big one, too. ‘Hello. How are you doing?’ He was relaxed but sweat a lot. I had to hand him a Kleenex when he was wearing that leather suit. Elvis was Elvis and he was a phenomena. And that’s all there is to it. There was a song that we did and he wanted to show that he had an operatic type voice. Just a big voice. To me, he was Elvis. That’s all there is to it. He was a one of. People who generally become famous are one of. He was also very handsome and all the ladies were crazy about him. He was a decent guy. I didn’t see anything unbelievable about Elvis. He was his own Sinatra. Sinatra was Sinatra and Elvis was Elvis.
“Billy Goldenberg, the musical arranger, was a terrific guy. Bones Howe had worked earlier with Elvis. I did my thing and that was it. Great fun. The big band was just super. It was just one of those historical specials. I knew the guys. I also recorded with the Lawrence Welk band and Neil Levang was the guitarist. Gary Coleman was the percussionist and I played drums on ‘A Little Less Conversation.’
“The Wrecking Crew could lock in with anybody. But with Elvis you’re gonna sit up a little straighter, maybe. I don’t know. When we finished, we had to go out and do another session. I might have had two other gigs that day. I love DJ Fontana. I hung with him a lot on the set. We were just inducted into the Nashville Hall of Fame.
“Our job was making hit records and we loved it. The thing that I had in the early days, I had Rick Faucher, my drum tech, who's still doing it for me, 44 years now, I had Rick go out and buy the biggest beach umbrella he could find and we put that on a boom stand where once I was on the drums, and we sawed it off at the pole. We could bring that over and down around my drums to cover me so that we could get a little less leakage anywhere.
“We did that at RCA and before long every studio wanted that same set up until they went to baffles. I was playing a set of drums that I gave to Ludwig and called it the Octaplus. Their biggest seller for all those years. And once I introduced those drums with Nancy on an Ed Sullivan special that was it. Every company in the world started making those drums. Had I known anything about patents in those days (laughs) …
“We were doing a job. We used to say: TTMAR. Take the money and run. Nobody knew how long it would last. Elvis came to Las Vegas and came backstage when I was there with Nancy Sinatra at Caesar’s Palace. ‘Hey Hal. You gonna come and work across the street with me?’ He expected me to join him for his debut and be part of that band but it was impossible.”
Some quotes on Hal Blaine from my own Harvey Kubernik interview archive ...
Brian Wilson: On Pet Sounds and SMile I had Phil Spector’s players: Lyle Ritz the bassist was also a ukulele player. He was a trip and played good stuff. Carole Kaye on bass. She was previously on ‘California Girls.’ Don Randi, keyboardist. Ray Polhlman. Fender bass. Hal Blaine was the greatest drummer I ever worked with.”
Bones Howe: The Fifth Dimension … Hal Blaine was on everything, and Joe Osborn ... I discovered Joe doing those Johnny Rivers records with Lou Adler. Mickey Jones was the drummer on the first Rivers sessions, and Joe Osborn. He played the bass the way I thought, as a jazz player, rock ’n’ roll players should play the bass. Joe and Hal, together, really had the lock and the feel. Then Dennis Budimir and Tommy Tedesco — jazz guys on guitar. That’s kind of how I built a rhythm section.”
Jim Keltner: Leon Russell was the first record producer and arranger I ever worked with. I was very fortunate to have him as the first producer I came in contact with, because Leon always had a slightly different musical angle that he came from. I think Leon was always looking for something a little bit out of the box. I didn’t know that at the time. Hal Blaine was there, by the way. I thought he was there to play tambourine, but in actual fact, Hal was there just in case I couldn’t cut it [laughs]. I was coming from Don Randi, six nights a week playing at Sherry’s. I thought I was on top of the world with that gig.”
Jack Nitzsche: On my sessions from 1960 to 1962, Leon Russell, Harold Battiste, Earl Palmer, Don Randi, Hal Blaine, Glen Campbell ... a lot of the players came out of my phone book. Phil knew Barney Kessel. He had taken guitar lessons from him. [Drummer] Hal Blaine ... I liked his work, but sometimes felt he overplayed. That’s just the way he plays. A lot of fills. As it turned out, Phil and the people loved the breaks Hal took, especially at the end of the tunes, the fades. Hal had a big kit. I liked the fills.”
Larry Levine: I used to have a theory, and I don’t know if it’s right or wrong, but part of the reason we took so long in actually recording the songs was that Phil needed to tire out the musicians, or they got to the point where they were tired enough so they weren’t playing as individuals. But they would meld into the sound more that Phil had in his head.
Brian Wilson: On Pet Sounds and SMile I had Phil Spector’s players: Lyle Ritz the bassist was also a ukulele player. He was a trip and played good stuff. Carole Kaye on bass. She was previously on ‘California Girls.’ Don Randi, keyboardist. Ray Polhlman. Fender bass. Hal Blaine was the greatest drummer I ever worked with.”
Bones Howe: The Fifth Dimension … Hal Blaine was on everything, and Joe Osborn ... I discovered Joe doing those Johnny Rivers records with Lou Adler. Mickey Jones was the drummer on the first Rivers sessions, and Joe Osborn. He played the bass the way I thought, as a jazz player, rock ’n’ roll players should play the bass. Joe and Hal, together, really had the lock and the feel. Then Dennis Budimir and Tommy Tedesco — jazz guys on guitar. That’s kind of how I built a rhythm section.”
Jim Keltner: Leon Russell was the first record producer and arranger I ever worked with. I was very fortunate to have him as the first producer I came in contact with, because Leon always had a slightly different musical angle that he came from. I think Leon was always looking for something a little bit out of the box. I didn’t know that at the time. Hal Blaine was there, by the way. I thought he was there to play tambourine, but in actual fact, Hal was there just in case I couldn’t cut it [laughs]. I was coming from Don Randi, six nights a week playing at Sherry’s. I thought I was on top of the world with that gig.”
Jack Nitzsche: On my sessions from 1960 to 1962, Leon Russell, Harold Battiste, Earl Palmer, Don Randi, Hal Blaine, Glen Campbell ... a lot of the players came out of my phone book. Phil knew Barney Kessel. He had taken guitar lessons from him. [Drummer] Hal Blaine ... I liked his work, but sometimes felt he overplayed. That’s just the way he plays. A lot of fills. As it turned out, Phil and the people loved the breaks Hal took, especially at the end of the tunes, the fades. Hal had a big kit. I liked the fills.”
Larry Levine: I used to have a theory, and I don’t know if it’s right or wrong, but part of the reason we took so long in actually recording the songs was that Phil needed to tire out the musicians, or they got to the point where they were tired enough so they weren’t playing as individuals. But they would meld into the sound more that Phil had in his head.
"Good musicians start out and play as individuals and strive to play what Phil wants. As far as the room sound and the drum sound went, because the rooms were small, with low ceilings, the drum sound, unlike other studios with isolation, your drums sounded the way you wanted them to sound. They would change accordingly to whatever leakage was involved.
“As a matter of fact, Phil once said to me the bane of his recording existence was the drum sound. A lot of people attribute to echo to what Phil was doing. The echo enhanced the melding of ‘the wall of sound,’ but it didn’t create it. Within the room itself, all of this was happening and the echo was glue that kept it together.”
David Kessel: I had the pleasure of growing up in the recording studio along with my brother Dan. We worked with Hal Blaine on many, many Phil Spector sessions, as 2nd generation Wrecking Crew musicians. My Dad, Barney Kessel and Step-Mother B.J. Baker (one of the top background vocalists and vocal contractors in L.A.) were friends of Hal.
“Hal once said to me at a session ‘The trick is that if you make a mistake at the beginning of a take, you have to remember the mistake through the whole song.’”
Harvey Kubernik is an author of 15 books. His literary and music anthology Inside Cave Hollywood: The Harvey Kubernik Music InnerViews and InterViews Collection Vol. 1, was published in December, 2017, by Cave Hollywood. Kubernik’s The Doors Summer’s Gone was published by Other World Cottage Industries in February, 2018.
David Kessel: I had the pleasure of growing up in the recording studio along with my brother Dan. We worked with Hal Blaine on many, many Phil Spector sessions, as 2nd generation Wrecking Crew musicians. My Dad, Barney Kessel and Step-Mother B.J. Baker (one of the top background vocalists and vocal contractors in L.A.) were friends of Hal.
“Hal once said to me at a session ‘The trick is that if you make a mistake at the beginning of a take, you have to remember the mistake through the whole song.’”
Harvey Kubernik is an author of 15 books. His literary and music anthology Inside Cave Hollywood: The Harvey Kubernik Music InnerViews and InterViews Collection Vol. 1, was published in December, 2017, by Cave Hollywood. Kubernik’s The Doors Summer’s Gone was published by Other World Cottage Industries in February, 2018.
Harvey Kubernik’s The Doors: Summer's Gone has been nominated for the 2019 Association for Recorded Sound Collections Awards for Excellence in Historical Recorded Sound Research.
During December, 2018, Sterling / Barnes and Noble published Harvey Kubernik and Kenneth Kubernik’s The Story of The Band From Big Pink to the Last Waltz.
This century Harvey penned the liner note booklets to the CD re-releases of Carole King’s Tapestry, Elvis Presley The ’68 Comeback Special, The Ramones’ End of the Century and Allen Ginsberg’s Kaddish. Man ...
Where do you even start with Hal’s contributions?
I am so glad the Wrecking Crew movie finally saw the light of day and that he and the other WC members got the recognition at last they so richly deserved, thanks in no small part to Forgotten Hits.
Think I’ll go put “Be My Baby” on a loop.
RIP, Hal ... Rock on.
- Larry Cave
50yearsagoonthehot100.blogspot.com
Another sad event in rock history. We lost Hal Blaine today ... the drummer who played on thousands of hit songs from the early '60s on.
He was a mainstay in the Wrecking Crew, the group of musicians who backed up just about every musical group we could name.
Mike Wolstein
I was saddened to learn of the passing of my friend of 56 years, Hal Blaine, who died this morning, March 11th, at the age of 90.
I first met Hal at a Brian Wilson / Beach Boys session at United - Western Recorders in the summer of '63.
His drums graced thousands upon thousands of hit singles spanning at least six decades. He was the solid foundation of Phil Spector's 'wall of sound' and, gave us that unforgettable intro on the classic, "Be My Baby." He played on the Mamas and Papas singles, including "California Dreamin'" as well as those of Frank Sinatra, Jan and Dean The Byrds, including "Mr. Tambourine Man," Simon and Garfukel's "Mrs. Robinson" and "Bridge Over Troubled Water," The Carpenters' "Close To You," Herb Alpert's "A Taste of Honey," The Fifth Dimension's "Aquarius," Captain and Tennille's "Love Will Keep Us Together," and Barbra Steisand's "The Way We Were."
He played on a majority of The Beach Boys' albums and singles throughout the 60's, including their classic "Pet Sounds" album, and the singles "God Only Knows" and the iconic "Good Vibrations." He played on additional hits for Elvis, Dean Martin, Johnny Rivers, Bobby Darin, The Association, The Grass Roots, Nancy Sinatra, Gary Lewis and the Playboys, John Denver, Connie Francis, Paul Revere and The Raiders, Barry McGuire, Tommy Roe, Wayne Newton, Sam Cooke, Dusty Springfield and Neil Diamond, among others. Hal was possibly the most recorded instrumentalist of all time. I wouldn't want to challenge that statement. All-in-all, Hal played on so many of the songs that made up the "soundtrack of our lives," it would be impossible to say just how much he influenced all of our lives.
In the late summer of 1964, with the "Beach Boys Concert" nearing the top of the album charts (it would become their first #1 Gold album) I got a phone call from Jan Berry. "Fred, I want you to do for us, what you did for 'the boys."
"You mean you want to record a 'live' album?" I replied.
"Yes, that's what I mean, Fred."
"Well, since you're going to make a live album, you'll have to have a band." (On many of their shows they merely lip-synched to their records.)
Jan said, "Work out the details with Lou." (Lou Adler).
I called Lou and suggested that we hire Hal, a young singer / guitarist named Glen Campbell, and round out the quartet with Steve Barri on bass and Phil "PF" Sloan on keys. That recording session, including additional selections from Jan and Dean's "TAMI" show became their "Command Performance" album.
RIP, Hal. Tonight you're in "Rock & Roll Heaven," playing with Glen, PF, along with Carl and Denny Wilson. You're in great company my friend. And you're in one heavenly band.
Fred Vail,
Treasure Isle Recorders, Inc.
Music City, USA
ARS:
Yeah. Alien! A lost gem!I was saddened to learn of the passing of my friend of 56 years, Hal Blaine, who died this morning, March 11th, at the age of 90.
I first met Hal at a Brian Wilson / Beach Boys session at United - Western Recorders in the summer of '63.
His drums graced thousands upon thousands of hit singles spanning at least six decades. He was the solid foundation of Phil Spector's 'wall of sound' and, gave us that unforgettable intro on the classic, "Be My Baby." He played on the Mamas and Papas singles, including "California Dreamin'" as well as those of Frank Sinatra, Jan and Dean The Byrds, including "Mr. Tambourine Man," Simon and Garfukel's "Mrs. Robinson" and "Bridge Over Troubled Water," The Carpenters' "Close To You," Herb Alpert's "A Taste of Honey," The Fifth Dimension's "Aquarius," Captain and Tennille's "Love Will Keep Us Together," and Barbra Steisand's "The Way We Were."
He played on a majority of The Beach Boys' albums and singles throughout the 60's, including their classic "Pet Sounds" album, and the singles "God Only Knows" and the iconic "Good Vibrations." He played on additional hits for Elvis, Dean Martin, Johnny Rivers, Bobby Darin, The Association, The Grass Roots, Nancy Sinatra, Gary Lewis and the Playboys, John Denver, Connie Francis, Paul Revere and The Raiders, Barry McGuire, Tommy Roe, Wayne Newton, Sam Cooke, Dusty Springfield and Neil Diamond, among others. Hal was possibly the most recorded instrumentalist of all time. I wouldn't want to challenge that statement. All-in-all, Hal played on so many of the songs that made up the "soundtrack of our lives," it would be impossible to say just how much he influenced all of our lives.
In the late summer of 1964, with the "Beach Boys Concert" nearing the top of the album charts (it would become their first #1 Gold album) I got a phone call from Jan Berry. "Fred, I want you to do for us, what you did for 'the boys."
"You mean you want to record a 'live' album?" I replied.
"Yes, that's what I mean, Fred."
"Well, since you're going to make a live album, you'll have to have a band." (On many of their shows they merely lip-synched to their records.)
Jan said, "Work out the details with Lou." (Lou Adler).
I called Lou and suggested that we hire Hal, a young singer / guitarist named Glen Campbell, and round out the quartet with Steve Barri on bass and Phil "PF" Sloan on keys. That recording session, including additional selections from Jan and Dean's "TAMI" show became their "Command Performance" album.
RIP, Hal. Tonight you're in "Rock & Roll Heaven," playing with Glen, PF, along with Carl and Denny Wilson. You're in great company my friend. And you're in one heavenly band.
Fred Vail,
Treasure Isle Recorders, Inc.
Music City, USA
ARS:
Jimbo
I always liked this song, which (to the best of my memory) never got played here in Chicago (unless you heard it on Casey Kasem’s American Top 40 Countdown … where it peaked at #29 in 1981.) That’s where I first heard it … and ordered a copy immediately! (kk)
>>>The song Rodney Justo sang after talking about being married to the same woman for 59 years was just beautiful (John Edwards)
>>>The "successful marriage" song you're referring to is called "Conversation" and I had never heard it before the show Saturday Night. What a GREAT track! I immediately downloaded it Sunday Morning! (kk)
Hi, Kent,
>>>The "successful marriage" song you're referring to is called "Conversation" and I had never heard it before the show Saturday Night. What a GREAT track! I immediately downloaded it Sunday Morning! (kk)
Hi, Kent,
Roger Miller did a great version of this song issued as an A-side on Mercury in 1972. I don’t think it’s ever been on an LP or comped. Much as I like ARS, I think Roger does an even better job with this song than they did.
Enjoy!
Michael Thom
Interestingly enough, Justo talked about Roger Miller “trying to record the song” back then … apparently Buddy Buie thought that his would be the perfect voice to bring this track home … but, according to Justo, Miller couldn’t get the words right … he just couldn’t sing “conversation” … each and every time the word came up, Roger sang “conservation” instead. (This is back in the day when The Atlanta Rhythm Section were still working primarily as a session band in Buddy’s Studio One, before they had any hits of their own. They finally just gave up and, according to Rodney, “Roger never did cut the song.”
Obviously not the case based on what you just sent me! (lol)
According to Joel Whitburn’s Top Country Singles book, it was the uncharted B-Side to Roger’s 1972 #41 Hit “Rings For Sale.” Its B-Side status is likely why it’s so hard to find on any compilation cd. (I tried to download it on iTunes, too, but it doesn’t exist in their library.) kk So you didn’t like the warm up band for Atlanta Rhythm Section, eh? Quite the scathing review … but entertaining as hell to read … and you make a really good point in relishing your opportunity for a shot at the big time.
Tom
Lessons learned:
Number One: Do a thorough sound check.
And Number Two: Do your homework … and at least know the name of the band you’re opening for who afforded you this opportunity! (kk)
>>>Ask The Natives performed what can only be described as a muddy mix of unremarkable originals that left most of the crowd (other than their own fan base that they brought along to the show) bewildered by just what it was they were trying to achieve. Their set-up was somewhat unique … guitar, bass and drums performing behind an amazing violinist, who took the leads on every song they played. Problem was, good as he was, you couldn’t hear him! The mix was SO bad that the lead vocals provided by the guitarist were undecipherable due to the guitar and drums being SO loud that they simply overpowered and blocked out the vocals and the shining point of the band … the violin solos on every tune. As a result of this performance, I can only dismiss them as both unremarkable and unmemorable. It’s a shame because these guys absolutely had their shit together in the way of marketing and fancy effects. Their entire performance was video taped … they had their own merchandise table in the lobby selling t-shirts and cd’s … and the whole time they were playing these awesome video graphics were showing on the big screen behind them … yet they couldn’t “sell it” because of a bad mix. That and the fact that they didn’t even seem to know (or show any respect for) the headlining act they were opening for. When they announced their last song before “bringing out The ATLANTIC Rhythm Section,” the coffin was sealed for me. Opening Acts everywhere … this message is for you … don’t blow your opportunity to make an impression on a new audience seeing you for the very first time. You worked long and hard to earn this opportunity. And show some genuine respect for the act that has afforded you this spot. Was this a good mix … Ask The Natives and The Atlanta Rhythm Section? An avant-garde rock band opening for southern rock legends? Probably not. But had they won over the crowd with their set, they just may have attracted a brand new group of fans who would seek them out again. Instead the general feeling seemed to be that nobody was going to Ask The Natives ANYTHING after this performance. (kk)
Compared to a lot of the tired Arcada warmups I've seen, I enjoyed this one because it was different … but I couldn't understand a word the lead singer said and I didn't like his guitar work.
The drummer was solid, looked like he was in high skool, and the violin guy was very good. I liked the dissonant minor key stuff and the bluesy hint. Didn't like the first song at all.
HAVE a great week,
Bill
Kent,
That is interesting how some of these great and talented artists opened for bigger names at the time and went on to be major artists themselves. It brought me back to The Buckinghams in 1967 when we had control over who opened for us.
We would try to choose an opener that was the opposite and different than us. Today it is upsetting and annoying when the promoter books an opening act that’s a big horn band. What it does is burn out the audience by the time we get started. A couple acts that opened for us and were relatively unknown back in 1967 were Jose Feliciano, just him and his guitar, fantastic! … and Flip Wilson, super funny, it was before his TV show. I remember Jerry Seinfeld with us at Ravinia before his TV show Seinfeld.
Great memories,
Carl
The Buckinghams
www.thebuckinghams.com
Hi Kent –
I was one of the ones who won tickets to the Atlanta Rhythm Section show last week.
I didn’t care for the opening act at all … but really enjoyed the headliners. (I was not very familiar with their music before the concert but thought they put on a great show.) Like one of your other readers or reviewers that wrote in, I also thought that some of the guitar jams went on a bit too long … but other than that I thought they were very good. It was a very good concert overall.
Natalie
Excellent article on both the Atlanta Rhythm Section and opening acts.
I'm sure you know this, but before Classics IV, several members of what later became ARS were in Roy Orbison's backup band, and also recorded for a while as the Candymen.
Georgia Pines / Movies In My Mind is a great two-sided 45 by the Candymen from 1967.
Brad
Yes, we featured “Georgia Pines” during our 1967 series.
The Candymen seem to be held in VERY high regard by anyone who has ever come across them. (The Atlanta Rhythm Section biography book I mentioned in the concert review written by Willie G. Moseley covers some pretty extensive ground on the early band roots that led to the formation of ARS. I’m currently reading it now and find it to be a very thorough accounting and I think interested fans will find quite fascinating. (kk) http://atlantarhythmsection.com/
Hi Kent,
I really enjoyed your Atlanta Rhythm Section review and article on opening acts.
It's a big, small world in entertainment and Atlanta Rhythm Section has quite a history.
Thought you would enjoy a bit of fun facts I just read about them:
In the spring of 1970, three former members of the Candymen (Rodney Justo, Dean Daughtry and Robert Nix) and the Classics IV (Daughtry and James B. Cobb, Jr.) became the session band for the newly opened Studio One recording studio in Doraville, Georgia, near Atlanta[2].
After playing on other artists' recordings, the Atlanta Rhythm Section was formed, with Rodney Justo (singer), Barry Bailey (guitar), Paul Goddard (bass), Dean Daughtry (keyboards), Robert Nix (drums) and James (J.R.) Cobb (guitar). Bailey and Goddard had played together in several groups and, like the Candymen, had also backed up Roy Orbison. The group's name was thought up by Studio One's owner Buddy Buie and his two partners in the venture, Cobb and Bill Lowery.
As you know, the Candy Men were Roy Orbison's back-up band. Buddy Buie was Roy Orbison's road manager at the time. Buddy Buie, and J.R. Cobb wrote a ton of hits together to include Spooky, Traces, Stormy, Every Day With You Girl for Dennis Yost and the Classics IV, and So In To You and Imaginary Lover for the Atlanta Rhythm Section (as you know Spooky was also a hit for ARS), plus a couple of B.J. Thomas' hits, Most Of All and Mighty Clouds Of Joy. Some of the artists that recorded Buie - Cobb songs were not only the Classics IV, the Atlanta Rhythm Section, and B.J. Thomas but also Gloria Estefan, Garth Brooks, the Lettermen, Anne Murray, and more.
Having worked for WQXI - Atlanta ("Qwixie in Dixie") I'm sure Scott Shannon and Kris Eric Stevens could tell you more.
Peace,
Tim Kiley
It really is a pretty remarkable story as to how these particular individuals came together to form The Atlanta Rhythm Section, at first assembled just to be the incredible in-house studio band for Buddy Buie’s Studio One but then branching out to enjoy a very successful career of their own. I have learned a great deal about The Candy Men (which also included a young Bobby Goldsboro before he went solo) over the past couple of years … and am pleased to have heard from so many ARS fans since our review ran last week. Like I said before, there a LOT of ARS fans out there … The Arcada SHOULD have been much fuller last Saturday Night. (kk)
I posted a link to all of the Atlanta Rhythm Section reviews on their Facebook Page. Hopefully more fans will stop by to check it out.
Steve
THE #1 OLDIES WEBSITE IN RUSSIA:
Kent,
Lessons learned:
Number One: Do a thorough sound check.
And Number Two: Do your homework … and at least know the name of the band you’re opening for who afforded you this opportunity! (kk)
>>>Ask The Natives performed what can only be described as a muddy mix of unremarkable originals that left most of the crowd (other than their own fan base that they brought along to the show) bewildered by just what it was they were trying to achieve. Their set-up was somewhat unique … guitar, bass and drums performing behind an amazing violinist, who took the leads on every song they played. Problem was, good as he was, you couldn’t hear him! The mix was SO bad that the lead vocals provided by the guitarist were undecipherable due to the guitar and drums being SO loud that they simply overpowered and blocked out the vocals and the shining point of the band … the violin solos on every tune. As a result of this performance, I can only dismiss them as both unremarkable and unmemorable. It’s a shame because these guys absolutely had their shit together in the way of marketing and fancy effects. Their entire performance was video taped … they had their own merchandise table in the lobby selling t-shirts and cd’s … and the whole time they were playing these awesome video graphics were showing on the big screen behind them … yet they couldn’t “sell it” because of a bad mix. That and the fact that they didn’t even seem to know (or show any respect for) the headlining act they were opening for. When they announced their last song before “bringing out The ATLANTIC Rhythm Section,” the coffin was sealed for me. Opening Acts everywhere … this message is for you … don’t blow your opportunity to make an impression on a new audience seeing you for the very first time. You worked long and hard to earn this opportunity. And show some genuine respect for the act that has afforded you this spot. Was this a good mix … Ask The Natives and The Atlanta Rhythm Section? An avant-garde rock band opening for southern rock legends? Probably not. But had they won over the crowd with their set, they just may have attracted a brand new group of fans who would seek them out again. Instead the general feeling seemed to be that nobody was going to Ask The Natives ANYTHING after this performance. (kk)
Compared to a lot of the tired Arcada warmups I've seen, I enjoyed this one because it was different … but I couldn't understand a word the lead singer said and I didn't like his guitar work.
The drummer was solid, looked like he was in high skool, and the violin guy was very good. I liked the dissonant minor key stuff and the bluesy hint. Didn't like the first song at all.
HAVE a great week,
Bill
Kent,
That is interesting how some of these great and talented artists opened for bigger names at the time and went on to be major artists themselves. It brought me back to The Buckinghams in 1967 when we had control over who opened for us.
We would try to choose an opener that was the opposite and different than us. Today it is upsetting and annoying when the promoter books an opening act that’s a big horn band. What it does is burn out the audience by the time we get started. A couple acts that opened for us and were relatively unknown back in 1967 were Jose Feliciano, just him and his guitar, fantastic! … and Flip Wilson, super funny, it was before his TV show. I remember Jerry Seinfeld with us at Ravinia before his TV show Seinfeld.
Great memories,
Carl
The Buckinghams
www.thebuckinghams.com
Hi Kent –
I was one of the ones who won tickets to the Atlanta Rhythm Section show last week.
I didn’t care for the opening act at all … but really enjoyed the headliners. (I was not very familiar with their music before the concert but thought they put on a great show.) Like one of your other readers or reviewers that wrote in, I also thought that some of the guitar jams went on a bit too long … but other than that I thought they were very good. It was a very good concert overall.
Natalie
Excellent article on both the Atlanta Rhythm Section and opening acts.
I'm sure you know this, but before Classics IV, several members of what later became ARS were in Roy Orbison's backup band, and also recorded for a while as the Candymen.
Georgia Pines / Movies In My Mind is a great two-sided 45 by the Candymen from 1967.
Brad
Yes, we featured “Georgia Pines” during our 1967 series.
The Candymen seem to be held in VERY high regard by anyone who has ever come across them. (The Atlanta Rhythm Section biography book I mentioned in the concert review written by Willie G. Moseley covers some pretty extensive ground on the early band roots that led to the formation of ARS. I’m currently reading it now and find it to be a very thorough accounting and I think interested fans will find quite fascinating. (kk) http://atlantarhythmsection.com/
Hi Kent,
I really enjoyed your Atlanta Rhythm Section review and article on opening acts.
It's a big, small world in entertainment and Atlanta Rhythm Section has quite a history.
Thought you would enjoy a bit of fun facts I just read about them:
In the spring of 1970, three former members of the Candymen (Rodney Justo, Dean Daughtry and Robert Nix) and the Classics IV (Daughtry and James B. Cobb, Jr.) became the session band for the newly opened Studio One recording studio in Doraville, Georgia, near Atlanta[2].
After playing on other artists' recordings, the Atlanta Rhythm Section was formed, with Rodney Justo (singer), Barry Bailey (guitar), Paul Goddard (bass), Dean Daughtry (keyboards), Robert Nix (drums) and James (J.R.) Cobb (guitar). Bailey and Goddard had played together in several groups and, like the Candymen, had also backed up Roy Orbison. The group's name was thought up by Studio One's owner Buddy Buie and his two partners in the venture, Cobb and Bill Lowery.
As you know, the Candy Men were Roy Orbison's back-up band. Buddy Buie was Roy Orbison's road manager at the time. Buddy Buie, and J.R. Cobb wrote a ton of hits together to include Spooky, Traces, Stormy, Every Day With You Girl for Dennis Yost and the Classics IV, and So In To You and Imaginary Lover for the Atlanta Rhythm Section (as you know Spooky was also a hit for ARS), plus a couple of B.J. Thomas' hits, Most Of All and Mighty Clouds Of Joy. Some of the artists that recorded Buie - Cobb songs were not only the Classics IV, the Atlanta Rhythm Section, and B.J. Thomas but also Gloria Estefan, Garth Brooks, the Lettermen, Anne Murray, and more.
Having worked for WQXI - Atlanta ("Qwixie in Dixie") I'm sure Scott Shannon and Kris Eric Stevens could tell you more.
Peace,
Tim Kiley
It really is a pretty remarkable story as to how these particular individuals came together to form The Atlanta Rhythm Section, at first assembled just to be the incredible in-house studio band for Buddy Buie’s Studio One but then branching out to enjoy a very successful career of their own. I have learned a great deal about The Candy Men (which also included a young Bobby Goldsboro before he went solo) over the past couple of years … and am pleased to have heard from so many ARS fans since our review ran last week. Like I said before, there a LOT of ARS fans out there … The Arcada SHOULD have been much fuller last Saturday Night. (kk)
I posted a link to all of the Atlanta Rhythm Section reviews on their Facebook Page. Hopefully more fans will stop by to check it out.
Steve
THE #1 OLDIES WEBSITE IN RUSSIA:
Kent,
Most of the time when I read about anything in FH, I immediately think of past records that came out which I remember.
About the item in which you mentioned that you have lots of readers over in Russia, I thought of Back In The USSR (Beatles or Chubby Checker), novelty record from 1959 called Russian Bandstand (Spencer & Spencer) and Berlin Top 10 (Dickie Goodman).
Larry
I went to the Ides Of March show at The City Winery last Wednesday Night (scroll back to read yesterday's review) with legendary Chicagoland sports broadcaster Chet Coppock … and we were seated next to Roe Conn, a very popular radio personality here in town. Naturally he and Chet knew each other … so when Chet introduced me, he told Roe “This guy’s got the #1 Oldies Website in Russia” … to which Conn replied, “Oh, well, congratulations” at which point I mumbled “It’s not something I’m especially proud of.” (lol)
By the way, those two break-in records you mentioned are among the WORST of this genre ever released! Goodman was going thru a bit of a dry spell at the time. (He was also one half of Spencer and Spencer, teaming up with Mickey Shorr for that one … another real stinker!) kk
THE RAIDERS / NEW COLONY SIX SHOW:
Hi Kent,
I was so disappointed when I learned yesterday that the Raiders concert at the Atheneum theater on March 23rd has been cancelled due to poor ticket sales.
My sister was going to take me as a birthday present. My sister and I have seen them a number of times with Paul and were really looking forward to seeing them, Ronnie Rice, Ray Graffia, Danny Sarokin, Chet Coppock and you! They said it was due to low ticket sales, but I thought the ticket prices were reasonable, so I guess Chicago doesn’t realize what a great show they are missing!
Joe Malin
Naturally, everyone is disappointed when a show like this … designed to raise money and awareness for Easter Seals … falls apart. Lots of great talent on that stage … plus me! Maybe we can still put something together at a later date or another venue that may be more accommodating to all parties concerned … but for right now yes, the show has officially been cancelled. (kk)
Where Do You Go To (My Lovely):
kk,
This is a novelty song. I've always liked it. Heck, we have OUR novelty songs from the USA, so this is one from "across the pond."
Arlene
I remember the record by Peter Sarstedt but couldn't remember how it went. Hadn't heard it in many years. It only charted for some three weeks here in OKC.
Larry
Hey Kent:
You might be surprised to learn that Tommy Roe's bubblegum classic "Dizzy" stalled at number two in several countries, including Ireland and Australia. It was denied the number one position by Peter Sarstedt's hit single that we featured the other day.
"Dizzy" entered the UK charts and eventually reached number one in June after "Where Do You Go To (My Lovely)” was falling and Sarstedt's next hit, "Frozen Orange Juice", was released. Popularity wise, "Where Do You Go To (My Lovely)" was ranked fourth there for the year behind "Sugar Sugar," "Get Back" and "Honky Tonk Women".
If that one doesn't float your boat, what do you think about gravelly-voiced actor Lee Marvin's UK#1 a year later, "Wand'rin Star"? Huh?
One thing I learned about the British public's musical tastes back then was that they loved quirky and/or novelty records e.g. "Lily The Pink". On the telly there was the likes of Monty Python, Benny Hill, and bug-eyed comedian Marty Feldman.
It was a fun time to be living in London (thanks to Uncle Sam).
Mike G
Without question, the British Charts have always been a eclectic mix of musical variety … it also isn’t at all uncommon for an “oldie” from several years before to be randomly rereleased and then perform very well on the charts all over again.
(Honestly, NEITHER of these tunes strikes my fancy ... but your comments force me to wonder if “Marty Feldman Eyes” was a big hit over there!!!) kk
THIS AND THAT:
About the item in which you mentioned that you have lots of readers over in Russia, I thought of Back In The USSR (Beatles or Chubby Checker), novelty record from 1959 called Russian Bandstand (Spencer & Spencer) and Berlin Top 10 (Dickie Goodman).
Larry
I went to the Ides Of March show at The City Winery last Wednesday Night (scroll back to read yesterday's review) with legendary Chicagoland sports broadcaster Chet Coppock … and we were seated next to Roe Conn, a very popular radio personality here in town. Naturally he and Chet knew each other … so when Chet introduced me, he told Roe “This guy’s got the #1 Oldies Website in Russia” … to which Conn replied, “Oh, well, congratulations” at which point I mumbled “It’s not something I’m especially proud of.” (lol)
By the way, those two break-in records you mentioned are among the WORST of this genre ever released! Goodman was going thru a bit of a dry spell at the time. (He was also one half of Spencer and Spencer, teaming up with Mickey Shorr for that one … another real stinker!) kk
THE RAIDERS / NEW COLONY SIX SHOW:
Hi Kent,
I was so disappointed when I learned yesterday that the Raiders concert at the Atheneum theater on March 23rd has been cancelled due to poor ticket sales.
My sister was going to take me as a birthday present. My sister and I have seen them a number of times with Paul and were really looking forward to seeing them, Ronnie Rice, Ray Graffia, Danny Sarokin, Chet Coppock and you! They said it was due to low ticket sales, but I thought the ticket prices were reasonable, so I guess Chicago doesn’t realize what a great show they are missing!
Joe Malin
Naturally, everyone is disappointed when a show like this … designed to raise money and awareness for Easter Seals … falls apart. Lots of great talent on that stage … plus me! Maybe we can still put something together at a later date or another venue that may be more accommodating to all parties concerned … but for right now yes, the show has officially been cancelled. (kk)
Where Do You Go To (My Lovely):
kk,
This is a novelty song. I've always liked it. Heck, we have OUR novelty songs from the USA, so this is one from "across the pond."
Arlene
I remember the record by Peter Sarstedt but couldn't remember how it went. Hadn't heard it in many years. It only charted for some three weeks here in OKC.
Larry
Hey Kent:
You might be surprised to learn that Tommy Roe's bubblegum classic "Dizzy" stalled at number two in several countries, including Ireland and Australia. It was denied the number one position by Peter Sarstedt's hit single that we featured the other day.
"Dizzy" entered the UK charts and eventually reached number one in June after "Where Do You Go To (My Lovely)” was falling and Sarstedt's next hit, "Frozen Orange Juice", was released. Popularity wise, "Where Do You Go To (My Lovely)" was ranked fourth there for the year behind "Sugar Sugar," "Get Back" and "Honky Tonk Women".
If that one doesn't float your boat, what do you think about gravelly-voiced actor Lee Marvin's UK#1 a year later, "Wand'rin Star"? Huh?
One thing I learned about the British public's musical tastes back then was that they loved quirky and/or novelty records e.g. "Lily The Pink". On the telly there was the likes of Monty Python, Benny Hill, and bug-eyed comedian Marty Feldman.
It was a fun time to be living in London (thanks to Uncle Sam).
Mike G
Without question, the British Charts have always been a eclectic mix of musical variety … it also isn’t at all uncommon for an “oldie” from several years before to be randomly rereleased and then perform very well on the charts all over again.
(Honestly, NEITHER of these tunes strikes my fancy ... but your comments force me to wonder if “Marty Feldman Eyes” was a big hit over there!!!) kk
THIS AND THAT:
I just read that Phil Spector’s California Castle has gone on the market for only $5.5 million. (Probably because it’s a bit of a “fixer-upper” … I would imagine there are several bullet holes in the walls that will need to be patched.)
Known as Pyrenees Castle, the home was built in 1925, and features nine bedrooms and ten bathrooms, spread out over 8700 square feet. Spector bought the house in 1998 for $1.1 million after a bank foreclosure.
Known as Pyrenees Castle, the home was built in 1925, and features nine bedrooms and ten bathrooms, spread out over 8700 square feet. Spector bought the house in 1998 for $1.1 million after a bank foreclosure.
Oh yeah … by the way … this is the same house where actress Lana Clarkson was murdered (in the foyer) in 2003. (Oh my God … has it REALLY been sixteen years since this happened?!?!)
If you’re interested (and just happen to have an extra $5.5 million floating around that you’ve been wondering what to do with), you can find a lot more BEAUTIFUL pictures of this place here:
https://ultimateclassicrock.com/phil-spector-castle/
Applebees must have dug out the Motown catalog for their latest television ad campaign. I’ve already heard Stevie Wonder’s “Signed, Sealed, Delivered” and “Do You Love Me” this past week alone. The hits just keep on comin’!!!
(We don’t have many Applebees by us anymore … I guess the chain didn’t do very well here in the Chicagoland area. Too bad ‘cause Frannie really liked it. I thought it was just OK. Learned early on not to go on Friday Nights ‘cause Tyra was most likely going to be at the football game.) kk
Speaking of Motown …
Former Supreme Mary Wilson celebrated her 75th Birthday this past week in Beverly Hills (which I believe is a few miles west of Detroit). Here’s a pic of her with Rock And Roll Biographer (and FH List Member) Mark Bego. The two have teamed up to write a new book called “Supreme Glamour” (Thames and Hudson) which will be released in The UK in May and here in The States in September. (kk)
Photo: Sergio Kardenas
Evenin' Kent,
As always, my friend, enjoy the read ... thanks for all the long hours you put in.
Wanted to send you my URL for this slideshow video:
https://www.facebook.com/100002053083338/posts/2058612827550467/?comment_id=2066543853424031
Found this little unreleased ditty we recorded in early 1979 ... and played it live to see how folks reacted to it ... seems people like it.
I'm pickled tink! :O)
Hope you do, too, Partner.
Be blessed greatly ~
Barry
I have liked this song from the very first time you ever sent it to me … a late-‘70’s Royal Guardsmen “reunion” that should have spawned a hit. Thanks, Barry! (kk)
Chuck Buell reminded you that in the heydays of Chicago radio that WLS could be picked up in some 40 countries. I remember on one occasion while I was doing my Wax Museum on KOMA on Sunday nights, I received a cassette aircheck of one of my shows from a gentleman who was listening to me overseas in some country which I can't remember offhand. I couldn't believe it but he sent the cassette to me to prove that he could listen to the station when atmospheric conditions were just right.
Larry Neal
One thing I’ve learned over the past twenty years of doing Forgotten Hits is that there seems to have been little rhyme or reason regarding what you could pick up where or when. It was the earliest form of streaming’s infancy, I guess! (Thank God today we’re able to enjoy this service without all the static!!!) kk
The other day we ran a link to a story about the suspicious death of Jerry Lee Lewis’ fifth wife, Shawn Stephens …
Now Ultimate Classic Rock is featuring a reminder about Jerry’s THIRD wife (who also happened to be his 13-year-old cousin!)
If by any chance you’re not already familiar with the whole story, this article gives you a pretty good representation of the facts … and the chaos that ensued when Jerry and his young bride Myra arrive in England for a tour. (Many believe Lewis was poised to take the rock and roll crown with Elvis away in the army … but this incident derailed that train for good. Ironically, while in Germany, Elvis was courting a 13 year old girl name Priscilla who would eventually move back to Graceland with him and become his wife … yet the press made virtually no negatively mention of this at all at the time.)
For the record, Lewis has now been married a total of seven times. He made headlines a couple of weeks ago after suffering a minor stroke. (kk)
https://ultimateclassicrock.com/jerry-lee-lewis-married-cousin/?utm_source=sailthru&utm_medium=referral&utm_campaign=newsletter_4572276
Here’s another reminder about next year’s Disco Cruise … which is already filling up fast … so check out the details below and be sure to register quickly before all the spots are gone. (This year’s cruise was a complete sell out!)
Evenin' Kent,
As always, my friend, enjoy the read ... thanks for all the long hours you put in.
Wanted to send you my URL for this slideshow video:
https://www.facebook.com/100002053083338/posts/2058612827550467/?comment_id=2066543853424031
Found this little unreleased ditty we recorded in early 1979 ... and played it live to see how folks reacted to it ... seems people like it.
I'm pickled tink! :O)
Hope you do, too, Partner.
Be blessed greatly ~
Barry
I have liked this song from the very first time you ever sent it to me … a late-‘70’s Royal Guardsmen “reunion” that should have spawned a hit. Thanks, Barry! (kk)
Chuck Buell reminded you that in the heydays of Chicago radio that WLS could be picked up in some 40 countries. I remember on one occasion while I was doing my Wax Museum on KOMA on Sunday nights, I received a cassette aircheck of one of my shows from a gentleman who was listening to me overseas in some country which I can't remember offhand. I couldn't believe it but he sent the cassette to me to prove that he could listen to the station when atmospheric conditions were just right.
Larry Neal
One thing I’ve learned over the past twenty years of doing Forgotten Hits is that there seems to have been little rhyme or reason regarding what you could pick up where or when. It was the earliest form of streaming’s infancy, I guess! (Thank God today we’re able to enjoy this service without all the static!!!) kk
The other day we ran a link to a story about the suspicious death of Jerry Lee Lewis’ fifth wife, Shawn Stephens …
Now Ultimate Classic Rock is featuring a reminder about Jerry’s THIRD wife (who also happened to be his 13-year-old cousin!)
If by any chance you’re not already familiar with the whole story, this article gives you a pretty good representation of the facts … and the chaos that ensued when Jerry and his young bride Myra arrive in England for a tour. (Many believe Lewis was poised to take the rock and roll crown with Elvis away in the army … but this incident derailed that train for good. Ironically, while in Germany, Elvis was courting a 13 year old girl name Priscilla who would eventually move back to Graceland with him and become his wife … yet the press made virtually no negatively mention of this at all at the time.)
For the record, Lewis has now been married a total of seven times. He made headlines a couple of weeks ago after suffering a minor stroke. (kk)
https://ultimateclassicrock.com/jerry-lee-lewis-married-cousin/?utm_source=sailthru&utm_medium=referral&utm_campaign=newsletter_4572276
Here’s another reminder about next year’s Disco Cruise … which is already filling up fast … so check out the details below and be sure to register quickly before all the spots are gone. (This year’s cruise was a complete sell out!)
GET DOWN TONIGHT! SHAKE YOUR BODY DOWN TO THE GROUND! SAIL ON! THE 2020 ULTIMATE DISCO CRUISE ANNOUNCES SUPERSTAR LINEUP –
The Era’s Biggest Artists Come Together For One Unforgettable Vacation Experience …
Including: KC and The Sunshine Band (special appearance 2/13), The Jacksons, Commodores, The Pointer Sisters, Harold Melvin’s Blue Notes, Heatwave, Sister Sledge, First Ladies of Disco (featuring Martha Wash, Linda Clifford and Norma Jean Wright), George McCrae, Anita Ward, Maxine Nightingale, and more!
Hosted by Deney Terrio of “Dance Fever”
Featuring Music Host Bob Pantano, host of the longest running radio dance party in the nation
Music presented by SiriusXM
Luxury Cruise Sails February 10 - February 15, 2020 From Miami to Key West and Nassau, Bahamas
Just back from a wildly successful, sold-out inaugural edition, StarVista LIVE, the leader in nostalgia-based music cruise experiences, announces the return of its newest uniquely themed voyage, the 2020 Ultimate Disco Cruise.
This cruise brings the cultural phenomenon of the 1970s from the dance floor to the high seas on a luxury ship that will wind its way through the Caribbean from February 10 - 15, 2020. Live concerts by the pioneering superstars who made dance music a lasting part of all of our lives will “rock the boat” for five incredible nights, with KC and The Sunshine Band (special appearance 2/13), The Jacksons, Commodores, The Pointer Sisters, Harold Melvin’s Blue Notes, Heatwave, Sister Sledge, First Ladies of Disco (featuring Martha Wash, Linda Clifford and Norma Jean Wright), George McCrae, Anita Ward, Maxine Nightingale , and more. Famed choreographer and “Dance Fever” TV host Deney Terrio, the man who taught John Travolta his Saturday Night Fever dance moves, is back to host one of the greatest lineups of classic dance music stars ever assembled – and so much more – aboard the award-winning Celebrity InfinityÒ. Terrio will be joined onboard again by music host Bob Pantano, host of the longest-running radio dance party in the nation, the “Saturday Night Dance Party,” now celebrating its 42nd anniversary.
“I just got back from the inaugural Ultimate Disco Cruise and I can’t express enough how entirely exhilarating it was,” says Terrio. “Not only were all the acts fantastic, but I’ve never seen such an energy and complete happiness across the board, from the crowd to the artists. It was just amazing. It was like an elixir − it truly made people feel better about themselves. I haven’t danced so much in such a long time, I feel like I’m 20 again. I can’t wait to come back.”
“We had such a great time in 2019, I can't wait to do it all over again in 2020,” adds Harry “KC” Casey, who’ll be leading a very special KC & The Sunshine Band appearance on February 13 in Nassau, Bahamas. “You’re going to have music just practically 24 hours a day, you’re going to see all of your favorite artists all in one place, and you’re going to have the best time of your life. … I can’t wait to get back on this cruise, to have fun with you and to do what I love doing. That’s making music and sharing good times with you.”
As someone who came of age in the 1970s, Alan Rubens, StarVista LIVE Senior Vice President of Entertainment / Executive Producer of the Ultimate Disco Cruise, remembers the Disco explosion as a “simply unforgettable” lifestyle and musical phenomenon.
“The surge of joy and happiness that took over the ship on our inaugural Ultimate Disco Cruise this month was unstoppable,” says Rubens. “Disco created an entirely new social scene for people of all different backgrounds to come together and share that dance fever worldwide, and we were fortunate enough to recapture that vibe seamlessly.
The response has been phenomenal. The music has a beat and message that makes everyone get out on our fabulous retro dance floor and stay there late into the night, just like we did back in the day. We’re constantly hearing from our guests that their favorite theme nights on any of our cruises are the Disco/Funk nights. Those dance parties bring back the fantastic memories of the Disco era – the clothes, the clubs, the dances, our old friends, our romances, and that fabulous musical revolution heard and enjoyed worldwide. We can’t wait to recreate that dance fever and era all over again in 2020.”
“Boogie Fever” is guaranteed to run rampant day and night from Miami to Key West to Nassau, and back, turning a luxury ship into one glorious “Disco Inferno.” Throughout the voyage, guests will also have the opportunity to attend special events to get up close and personal with the artists onboard, including a wine tasting, live game shows, behind the music Q&A sessions, panel discussions, pool parties, and unforgettable themed costume gatherings. It all takes place aboard the luxurious Celebrity InfinityÒ, renowned for excellence in dining, deluxe cabins and stunning showrooms. Celebrity Cruises represent modern luxury in cruise lines, through sleek cruise ships and top-of-the-line amenities.
Cabin fares start at $1,349 and include admission to all main stage shows, meals in main dining options and major parties. For further information on the Ultimate Disco Cruise, please call 844.296.3472 or visit
www.UltimateDiscoCruise.com
The Mike & Micky show pulled into NYC last night at the Beacon Theater (and, Long Island’s Paramount on Friday) and one of the bold-face names to show was MSNBC’s Brian Williams.
David Salidor
The Era’s Biggest Artists Come Together For One Unforgettable Vacation Experience …
Including: KC and The Sunshine Band (special appearance 2/13), The Jacksons, Commodores, The Pointer Sisters, Harold Melvin’s Blue Notes, Heatwave, Sister Sledge, First Ladies of Disco (featuring Martha Wash, Linda Clifford and Norma Jean Wright), George McCrae, Anita Ward, Maxine Nightingale, and more!
Hosted by Deney Terrio of “Dance Fever”
Featuring Music Host Bob Pantano, host of the longest running radio dance party in the nation
Music presented by SiriusXM
Luxury Cruise Sails February 10 - February 15, 2020 From Miami to Key West and Nassau, Bahamas
Just back from a wildly successful, sold-out inaugural edition, StarVista LIVE, the leader in nostalgia-based music cruise experiences, announces the return of its newest uniquely themed voyage, the 2020 Ultimate Disco Cruise.
This cruise brings the cultural phenomenon of the 1970s from the dance floor to the high seas on a luxury ship that will wind its way through the Caribbean from February 10 - 15, 2020. Live concerts by the pioneering superstars who made dance music a lasting part of all of our lives will “rock the boat” for five incredible nights, with KC and The Sunshine Band (special appearance 2/13), The Jacksons, Commodores, The Pointer Sisters, Harold Melvin’s Blue Notes, Heatwave, Sister Sledge, First Ladies of Disco (featuring Martha Wash, Linda Clifford and Norma Jean Wright), George McCrae, Anita Ward, Maxine Nightingale , and more. Famed choreographer and “Dance Fever” TV host Deney Terrio, the man who taught John Travolta his Saturday Night Fever dance moves, is back to host one of the greatest lineups of classic dance music stars ever assembled – and so much more – aboard the award-winning Celebrity InfinityÒ. Terrio will be joined onboard again by music host Bob Pantano, host of the longest-running radio dance party in the nation, the “Saturday Night Dance Party,” now celebrating its 42nd anniversary.
“I just got back from the inaugural Ultimate Disco Cruise and I can’t express enough how entirely exhilarating it was,” says Terrio. “Not only were all the acts fantastic, but I’ve never seen such an energy and complete happiness across the board, from the crowd to the artists. It was just amazing. It was like an elixir − it truly made people feel better about themselves. I haven’t danced so much in such a long time, I feel like I’m 20 again. I can’t wait to come back.”
“We had such a great time in 2019, I can't wait to do it all over again in 2020,” adds Harry “KC” Casey, who’ll be leading a very special KC & The Sunshine Band appearance on February 13 in Nassau, Bahamas. “You’re going to have music just practically 24 hours a day, you’re going to see all of your favorite artists all in one place, and you’re going to have the best time of your life. … I can’t wait to get back on this cruise, to have fun with you and to do what I love doing. That’s making music and sharing good times with you.”
As someone who came of age in the 1970s, Alan Rubens, StarVista LIVE Senior Vice President of Entertainment / Executive Producer of the Ultimate Disco Cruise, remembers the Disco explosion as a “simply unforgettable” lifestyle and musical phenomenon.
“The surge of joy and happiness that took over the ship on our inaugural Ultimate Disco Cruise this month was unstoppable,” says Rubens. “Disco created an entirely new social scene for people of all different backgrounds to come together and share that dance fever worldwide, and we were fortunate enough to recapture that vibe seamlessly.
The response has been phenomenal. The music has a beat and message that makes everyone get out on our fabulous retro dance floor and stay there late into the night, just like we did back in the day. We’re constantly hearing from our guests that their favorite theme nights on any of our cruises are the Disco/Funk nights. Those dance parties bring back the fantastic memories of the Disco era – the clothes, the clubs, the dances, our old friends, our romances, and that fabulous musical revolution heard and enjoyed worldwide. We can’t wait to recreate that dance fever and era all over again in 2020.”
“Boogie Fever” is guaranteed to run rampant day and night from Miami to Key West to Nassau, and back, turning a luxury ship into one glorious “Disco Inferno.” Throughout the voyage, guests will also have the opportunity to attend special events to get up close and personal with the artists onboard, including a wine tasting, live game shows, behind the music Q&A sessions, panel discussions, pool parties, and unforgettable themed costume gatherings. It all takes place aboard the luxurious Celebrity InfinityÒ, renowned for excellence in dining, deluxe cabins and stunning showrooms. Celebrity Cruises represent modern luxury in cruise lines, through sleek cruise ships and top-of-the-line amenities.
Cabin fares start at $1,349 and include admission to all main stage shows, meals in main dining options and major parties. For further information on the Ultimate Disco Cruise, please call 844.296.3472 or visit
www.UltimateDiscoCruise.com
The Mike & Micky show pulled into NYC last night at the Beacon Theater (and, Long Island’s Paramount on Friday) and one of the bold-face names to show was MSNBC’s Brian Williams.
David Salidor
I heard them advertising the Beacon show on Sirius XM yesterday ... I'm told this is a GREAT venue to see a concert. (Several acts have recorded live albums there!) I'm wondering if Mike and Micky will keep this partnership going moving forward as there seems to be a very positive fan response to this pairing. (kk)
Just a note regarding that song “A Moment Ago” by the Angels and your comment that if you play the 45 at 33 1/3 speed it will sound like a group of guys singing. It’s true. It is a very nice song try … listening to it at that speed and you will be amazed. I found this out years ago. Jerry Blavet was the one who mentioned it on one of his shows. I can enjoy that song at both speeds as it is a good one.
Ray
(Special thanks to Tom Diehl for sending us this altered slowed down version) kk
To All My Oldies Friends,
I thought that some of you would enjoy the attached pic of me holding an original Cash Box Guaranteed Records ad that was hand colored and mounted on metal by my wife. What a great birthday present.
Enjoy remembering the 50s,
Paul
I love it! Thanks for sharing, Paul! (kk) Enjoy remembering the 50s,
Paul
Speaking of Remembering the 1950’s, Gary Pike (formerly of The Lettermen) sent me this little ditty that accomplishes just exactly that …
1950'S VERSION OF AN E-MAIL
I HAVE NO IDEA WHO PUT THIS TOGETHER, BUT IT IS WONDERFUL …
LONG AGO AND FAR AWAY, IN A LAND THAT TIME FORGOT,
BEFORE THE DAYS OF DYLAN, OR THE DAWN OF CAMELOT.
THERE LIVED A RACE OF INNOCENTS, AND THEY WERE YOU AND ME.
FOR IKE WAS IN THE WHITE HOUSE IN THAT LAND WHERE WE WERE BORN,
WHERE NAVELS WERE FOR ORANGES, AND PEYTON PLACE WAS PORN.
WE LONGED FOR LOVE AND ROMANCE, AND WAITED FOR OUR PRINCE,
EDDIE FISHER MARRIED LIZ, AND NO ONE'S SEEN HIM SINCE.
WE DANCED TO 'LITTLE DARLIN,' AND SANG TO 'STAGGER LEE'
AND CRIED FOR BUDDY HOLLY IN THE LAND THAT MADE ME, ME.
ONLY GIRLS WORE EARRINGS THEN, AND THREE WAS ONE TOO MANY,
AND ONLY BOYS WORE FLAT-TOP CUTS, EXCEPT FOR BILL HALEY.
AND ONLY IN OUR WILDEST DREAMS DID WE EXPECT TO SEE
A BOY NAMED GEORGE WITH LIPSTICK, IN THE LAND THAT MADE ME, ME.
WE FELL FOR FRANKIE AVALON, ANNETTE WAS OH, SO NICE,
AND WHEN THEY MADE A MOVIE, THEY NEVER MADE IT TWICE ...
WE DIDN'T HAVE A STAR TREK FIVE, OR PSYCHO TWO AND THREE,
OR ROCKY-RAMBO TWENTY IN THE LAND THAT MADE ME, ME.
MISS KITTY HAD A HEART OF GOLD, AND CHESTER HAD A LIMP,
AND REAGAN WAS A DEMOCRAT WHOSE CO-STAR WAS A CHIMP.
WE HAD A MR. WIZARD, BUT NOT A MR. T, AND OPRAH COULDN'T TALK YET,
IN THE LAND THAT MADE ME, ME.
WE HAD OUR SHARE OF HEROES, WE NEVER THOUGHT THEY'D GO,
AT LEAST NOT BOBBY DARIN, OR MARILYN MONROE.
FOR YOUTH WAS STILL ETERNAL, AND LIFE WAS YET TO BE,
AND ELVIS WAS FOREVER IN THE LAND THAT MADE ME, ME.
WE'D NEVER SEEN THE ROCK BAND THAT WAS GRATEFUL TO BE DEAD,
AND AIRPLANES WEREN'T NAMED JEFFERSON AND ZEPPELINS WERE NOT LED.
AND BEATLES LIVED IN GARDENS THEN, AND MONKEYS LIVED IN TREES,
MADONNA WAS MARY IN THE LAND THAT MADE ME, ME.
WE'D NEVER HEARD OF MICROWAVES, OR TELEPHONES IN CARS,
AND BABIES MIGHT BE BOTTLE-FED, BUT THEY WERE NOT GROWN IN JARS.
AND PUMPING IRON GOT WRINKLES OUT, AND 'GAY' MEANT FANCY-FREE,
AND DORMS WERE NEVER CO-ED IN THE LAND THAT MADE ME, ME.
WE HADN'T SEEN ENOUGH OF JETS TO TALK ABOUT THE LAG,
AND MICROCHIPS WERE WHAT WAS LEFT AT THE BOTTOM OF THE BAG.
AND HARDWARE WAS A BOX OF NAILS, AND BYTES CAME FROM A FLEA,
AND ROCKET SHIPS WERE FICTION IN THE LAND THAT MADE ME, ME.
T-BIRDS CAME WITH PORTHOLES, AND SIDE SHOWS CAME WITH FREAKS,
AND BATHING SUITS CAME BIG ENOUGH TO COVER BOTH YOUR CHEEKS.
AND COKE CAME JUST IN BOTTLES, AND SKIRTS BELOW THE KNEE,
AND CASTRO CAME TO POWER NEAR THE LAND THAT MADE ME, ME.
WE HAD NO CREST WITH FLUORIDE, WE HAD NO HILL STREET BLUES,
WE HAD NO PATTERNED PANTYHOSE OR LIPTON HERBAL TEA
OR PRIME-TIME ADS FOR THOSE DYSFUNCTIONS IN THE LAND THAT MADE ME, ME.
THERE WERE NO GOLDEN ARCHES, NO PERRIER TO CHILL,
AND FISH WERE NOT CALLED WANDA, AND CATS WERE NOT CALLED BILL
AND MIDDLE-AGED WAS 35 AND OLD WAS FORTY-THREE,
AND ANCIENT WERE OUR PARENTS IN THE LAND THAT MADE ME, ME.
BUT ALL THINGS HAVE A SEASON, OR SO WE'VE HEARD THEM SAY,
AND NOW INSTEAD OF MAYBELLINE WE SWEAR BY RETIN-A. THEY SEND US INVITATIONS TO JOIN AARP,
WE'VE COME A LONG WAY, BABY, FROM THE LAND THAT MADE ME, ME.
SO NOW WE FACE A BRAVE NEW WORLD IN SLIGHTLY LARGER JEANS,
AND WONDER WHY THEY'RE USING SMALLER PRINT IN MAGAZINES.
AND WE TELL OUR CHILDREN'S CHILDREN OF THE WAY IT USED TO BE,
LONG AGO AND FAR AWAY IN THE LAND THAT MADE ME, ME.
IF YOU DIDN'T GROW UP IN THE FIFTIES, YOU MISSED THE GREATEST TIME IN HISTORY.
I HOPE YOU ENJOYED THIS READ AS MUCH AS I DID.
IF SO, PLEASE FORWARD THIS NOTE TO SOMEONE WHO WILL APPRECIATE THESE MEMORIES.
